The Juno-nominated ‘Toronto Tabla Ensemble,’ led by maestro of North Indian percussion Ritesh Das, just released their new album ‘For the Love of Tabla‘, which showcases the instrument’s many flavours and applications. The composition has a traditional tone, but it also incorporates elements from a variety of different musical styles and forms of global music. The experience will undoubtedly pique our interest, and it is a fantastic chance to learn more about this stormy sea of Indian Classical music and its influence on world music.
The Soundtrack opens with more conventional classical composition called ‘Encore 21’ which includes Bols, Tukdas, and chakkradars, which are recited so eloquently that the listener is immediately engrossed. As it cycles down to One, the Tihai really got us all thrilled and provided us a feeling of ease. The performance also includes dynamics, which create an exhilarating effect as we follow it. Moving on to the next piece, ‘Jovano Jovanke,’ which I really enjoyed. The song is extremely well-structured, and the components are just stunning. The first is the Bhairavi Scale, commonly known as the Phrygian mode, which is well established by the violin solo. Furthermore, the vocals will keep you glued to the tune. I really liked how the Table accompanied the tune well while never putting over the arrangement. It kept the rhythm steady and exciting.
‘Baya Works‘, the following piece, will truly enthral you. This demonstrates how skilled the artist is and how easily he can include variations just purely on Baya Tabla. As the song goes, it gains momentum. The performance is playful and full of expressions, which is truly admirable. The patterns are used in such a creative way that they elicit enthusiasm and a sense of joy in us. The next song, ‘Prayer for the Mother’, is a delightful surprise. The unusual arrangement of the sevens, which is absolutely brilliant, leads this incredible experience. In terms of songwriting, the ideas communicated would likewise make a lasting effect on listeners. The inclusion of Tabla bols in the arrangement adds to our enthusiasm, which grows as we listen to the music over and over.
‘Spellcheck‘ is the piece that truly digs into the possibilities of pattern variations inside a framework, as well as how expressions and sonic qualities may alter and generate such a wide range of moods. The drums also add a nice touch to the compositions. The general atmosphere is positive and inquisitive. The Nagma is used with the flute in the next piece, ‘Summer 2020,’ and the rhythm arrangement over the motif is really fascinating. The recital performance is classical, yet it has a contemporary soul about it. The climax of the track gets more exciting as the momentum develops. The track ‘Taiko Crush‘ goes even deeper into the realm of exploration, with more percussions added to the soundtrack. The polyrhythmic nature of the music, as well as the variations in the groupings and emphasis, generate fascinating junctions. The structure is designed in such a way that it resembles a journey. The piece undoubtedly elicits certain feelings in us, which we might associate with our own life observations.
‘Burning Sky‘ has a beautiful ethnic flavour to it, thanks to the bass Tabla, flute, and other woodwinds, which bring in such appealing sounds. The sonic environment is extremely pleasant. String instruments are used sparingly to give the soundscape some vitality. Among these great calming sounds, the Tabla continues to make an impact. The time signature of the next piece, ‘Nine to Ten,’ fluidly modulates between the cycle of nine and tens, which is really intriguing if closely followed. Aside from the changes, the melody is built so effortlessly over the rhythm that it is genuinely astonishing. The patterns also continuously shifting, which adds to the intrigue, and the patterns cross across without notice. Sarod brilliantly accentuates our delight with ‘Shyama Sundara’. With this incredibly traditional enriching performance, the colour of Raga Bhairavi is very beautifully established. I liked how the raga phrases were utilised, which is always enjoyable to listen to.
Finally, the tune ‘O Canada’ masterfully incorporates inspirations from a variety of musical styles. The piano provides a western classical flavour to the tune, which has lovely layers and a melody played on the sitar. The woodwinds offer wonderful flow to the piece, while the Table continues to play its role. The record is detailed, and despite the fact that it is mostly centred on powerful rhythmic origins. Even still, I believe the tunes were lovely and powerful. The Tabla arrangement is also dynamic and adaptable to the role according to the requirements for each track, which vary from one another. I’m confident the experience will be complete and one-of-a-kind.
Enjoy Listening to “For the Love of Tabla” by Toronto Tabla Ensemble on Spotify!
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